Originality is usually lacking in Bhatt
films but most of the time their music makes up for it. That is a department
they rarely miss with and as of late they’ve had Anu
Malik composing a few memorable tunes for them. The very low budget Murder
also has Malik composing and while, like most Bhatt films, the film has been the
talk of many due to its very high sexual overtone, its overly flamboyant actress
Mallika Sherawat (Khwahish),
Anu’s new vocalist and a few refreshing tune give this one a thumbs up.

The romantic hit of the song is newcomer Amir
Jamal’s “Kaho Na Kaho”. Anu has complimented the song
with an innovative tune, which suits Amir’s voice well. Though the slight
Punjab accent on his voice is evident leading to a possible typecast to the
songs he may be able to sing, this one is perfect for him and suits for a good
introduction to Bollywood listeners. The lyrics are a far cry from anything
redundant we’ve heard from lyricists and actually carry a style that is very
pleasing to hear. However it is the
orchestration that stands out. One thing to note, Malik has been working
with many different lyricists lately and the outcome couldn’t be more pleasing
as indicated in this opener. Here, Sayeed Quadri is
simply exquisite as he has been previously. The song is definitely one of the
best of the year so far.

It looks like Kunal Ganjawala is moving
towards mainstream singing and more solo tunes verses his usual background
singing. After Bardaasht,
Murder sees him following up a great tune with a
pretty decent other in “Bheegey Hont”. The song has a more
R&B feel to it and Kunal is able to do ample job with it. His vocal jobs at
the interludes of the song add to that. Point of note is not only the lyrics but
also a light musical composition, which does well to keep the listener in tune
with the song.

Changing the slow male oriented theme of the song
is Alisha Chinoy’s sensual seductive (as if any other terms fit her
better), “Dil Ko Hazar Bar”, the song is sexy, but that comes
to no surprise considering the theme of the film. What’s more is it’s not
tacky and quite addictive. Malik’s composition is excellent, even if it
reminds us of some of those Helen numbers from the yesteryears. Anu has outdone
himself and hearing Alisha giving the song her every is even better. Her singing
in the song is worth hitting the repeat button over and over again. Rahat
Indori’s contribution to the album is as good as Sayeed’s. I’m
sure if this film does become successful it would be everyone rushing to see Mallika
gyrate to this tune.

The album does a complete change (I would go as far
as to say unwelcome) with “Zindagi Is Tarah”. Anuradha
Paudwal’s rendition is ok, as is Sonu Nigam’s depressing one
which appears later in the album. The song is sad, written that way and
presented typically that way. While there are a few things that stand out about
it, the song fails to hold the listener’s attention. Perhaps Shreya Ghoshal,
who is sorely missed on this album, would have done a better job.

“Jaana” is your typical pop club
number. Sung by Amir Jamal again the song doesn’t suite him as much as the
opening number. The song actually sounds a tad bit more than a song for a
musical album not a film soundtrack.

The soundtrack closes with instrumental versions of
“Bheegy Hont” and “Kaho Na Kaho”. A little more than your
typical instrumentals they are worth the listen.

Whether it is the Bhatt’s or director Anurag
Basu, someone has placed an emphasis on composing a sound score with Murder.
The Bhatt’s have found a working formula with Anu Malik
in creating good music and the soundtrack for Murder is another working factor
in that equation.